"A two-track 12" with an etched side, "Fizzy" is a studio recording and was recorded in the summer of 2012. "Urine Mate (Welcome to the Club)" was recorded live at the German club Skalitzer in Berlin, featuring John Paul. Released on Anton Newcombes label A Recordings. "Urine Mate (Welcome to the Club)" is an exclusive version of this track, and "Fizzy" can be found on the album Austerity Dogs (2013). "Fizzy" was inspired by the many thousands of psychopathic managers and supervisors that terrorize low-paid workers throughout the world on a daily basis. "Urine Mate (Welcome to the Club)" describes in detail Nottinghams Mansfield Road." - A Recordings.

"Thanks to their sweary rants about modern England, Nottingham duo Sleaford Mods have been called "The worlds greatest rock n roll band" by Iggy Pop and "the soundtrack to post-Brexit Britain" by the Guardian. Jason Williamson, a former chicken factory worker and father of two, his band mate, beatmaker Andrew Fearn, and their manager Steve Underwood, avant-garde bedroom label owner and former bus driver, have won over fans with their brutally honest lyrics and DIY ethos. Following them on their two-year journey from Sherwood to chart success, award-winning music documentary Bunch Of Kunst tells the story of three guys taking on the music business on their own terms. "This documentary film is the perfect antidote to those sexy, racy, rocknroll yawns most bands hide behind. We are indeed, a Bunch Of Kunst." --Jason Williamson, Sleaford Mods. The CD was recorded at SO36 Berlin on June 19th, and features the complete unedited performance, originally released in an edited form as a vinyl LP on Harbinger Sound (HARBUSA 001LP, 2016). Subtitles options on the DVD -- English, Deutsch, Espanol, Francais. NTSC format, region free." F&F Production.

"Sleaford Mods started around 2006 in Nottingham by Jason Williamson. Born out of frustration and by accident, it quickly found its feet as an aggressive attack on all that is contrived and connected to the day-to-day hammer of low paid employment. "Mr. Jolly Fucker" and "Tweet Tweet Tweet" sees the duo continuing their sometimes raucous yet always edgy melding of mean hip-hop beats, often savage poetic observations (think whizzed-out Mark E. Smith) and snarling punk attitude. A full-on kick to the senses inspired by the Sex Pistols, The Last Poets, and 60s garage and soul music." - Fourth Dimension.

"Proper working class music with an edge and a vitality, a wit and wisdom all of its own. Something that those stuck in a hopeless job can relate to and use as inspiration, something to shove right up the gaffers arsehole.Jason Williamson writes the lyrics, Andrew Fearn mans the lap top, the pair of them share vocals with Williamson getting the lions share. Its a simple set up stripped to the basics, a hammering bass riff coupled to a series of rapid programmed beats. Its all you need. Everything is in the delivery though, lines are delivered in the northern vernacular, each line spat out in rapid succession, each song starts and ends the same, once the bass loop is there it pummels away until the song ends and then in a split second the next one takes its place. Fearn chips in with the odd line, theres the odd three note keyboard solo to fill in the gaps and thats about it.Twelve tracks in all, each one destined for greatness. Urine Mate, Welcome To The Club sets the tone with a rap intro by local Forest lad John Paul that mentions the the cunts in the armed labelled coats, looking at me like they want to slit my fucking throat … anyway Im enjoying mesen before it all kicks off with the single word Spectre which will mean absolutely nothing to anybody living outside Britain, there are no apologies to those who can not unravel the inner workings of the northern working class language, this is as raw as its possible to get, no concessions are made, its one of their greatest strengths.
By now Im trying to think of comparisons, maybe the delivery of John Cooper Clarke, Steve Ignorant, Ian Dury, the pumping bass riffs of The Fall, the cheap synth beats of The Normal [as heard on Five Pound Sixty] but its the richness of the lyrics which linger. Some of it makes no sense at all, stream of consciousness, words repeated, wobble, wobble, wobble I dont like puddings…" - Idwal Fisher.

"Just about the most brutal and bleak LP weve ever released. Debut vinyl by Nottinghams finest.No compromise, no refunds.
Please acquire with due caution : this is not an extreme electronics record !" - Harbinger Sound.

"Sleaford Mods started out sometime during 2006 while Jason Williamson was living in Nottingham. Born out of part frustration and part accident, it quickly found its feet as an aggressive verbal onslaught on all that is contrived and connected to the day-to-day hammer of low paid employment and domestic situations arising from that trap. After a year of working ideas out in both the studio and in live performance around Nottingham, Williamson moved south and took the cause to London for a couple of years, before returning to Nottingham in 2009. Soon after that he met Andrew Fearn and the Sleaford Mods became a duo. Fearns first work was on the production of Wank -- the Mods fifth CD-R album. Soon after, he started stalking the studio and stage with Williamson. Just after the release of Wank, the duo were invited to play a three-day festival curated by Nottinghams Rammel Club. During that weekend they were introduced to the Harbinger Sound label. A meeting which -- a year later -- resulted in the release of Austerity Dogs. Numerous shows around the UK and Europe followed, including further festival appearances. Rave reviews of the album have appeared in magazines as diverse as The Wire and Uncut, along with interviews being published both on paper and on the internet, both here and abroad. With more international dates on the horizon including excursions to Poland and Sweden, the interest in the Mods continues to spread." - Harbinger Sound.

"Divide and Exit sees Sleaford Mods once again released on the elusive Nottingham-based low-profile Harbinger Sound label. Divide and Exit contains 14 new tracks all written over the last 12 months and the result is as immediately in-your-face as its vicious predecessor. While Fearns beats and loops will pull you up into the urgency of Sleaford Mods, they also allow you to run the gauntlet from deliberate clumsy dancefloor swaggers to full-on punk throwabouts with them. Williamson is let free to spit out his unempathetic litany of bile and anger towards the bloated and tedious." - Harbinger Sound.

"Divide and Exit sees Sleaford Mods once again released on the elusive Nottingham-based low-profile Harbinger Sound label. Once dismissed around their native Nottingham as "two skip rats with a laptop," the last 12 months has seen the Sleaford Mods simply knock all their distractors clear out of the way. The mounting hysteria surrounding their 2013 album Austerity Dogs (HARB 106CD/LP) has spread like chlamydia at a teenage house party and saw them topping many "End of Year" lists worldwide. Along with a handful of limited 7" releases on labels as diverse as Matador and X-Mist, plus an extensive European touring program have all helped to solidify their growing reputation as "ones to watch ." The Sleaford Mods duo of Jason Williamson and Andrew Fearn have also been busy throughout the year working on this follow-up album. Divide and Exit contains 14 new tracks all written over the last 12 months and the result is as immediately in your face as its vicious predecessor. While Fearns beats and loops will pull you up into the urgency of Sleaford Mods, they also allow you to run the gauntlet from deliberate, clumsy dancefloor swaggers to full-on punk throwabouts with them. Williamson is let free to spit out his litany of bile and anger towards the bloated and tedious. His verbal salvos and side-swipes are often savage and brutal, yet at turns, hilarious, but always spot-on as Sleaford Mods rage and despair as the country sinks deeper into a cesspool of its own idiocy. Its an album that doesnt have the privilege of luxury, indulgence or extravaganza and it will strike a resonant chord with many because it simply refuses to compromise. Many critics have attempted to tag and align the Sleaford Mods with other artists and have done little other than to advertise their own shortcomings and lack of knowledge. If you need a pointer, try and imagine an East Midlands take on Suicide that survived rave culture and looked to the Wu-Tang Clan for the escape hatch. The down-to-earth observations and story-telling of Ian Dury or Patrik Fitzgerald are maybe closer than any other names flung about in desperation. If you wish to tag and place Sleaford Mods, youre only limiting yourself." - Harbinger Sound.

“Nottingham duo Sleaford Mods present third "proper" album, Key Markets. "Key Markets was a large supermarket bang in the centre of Grantham from the early 1970s up until around 1980," explains Jason Williamson. "My mum would take me there and Id always have a large Coke in a plastic orange cup surrounded by varnished wood trimmings and big lamp shades with flowers on them. Beige bricks with bright yellow points of sale and large black foam letters surrounded you and this is why we called the album Key Markets. Its the continuation of the day to day and how we see it, the un-incredible landscape." "The album was recorded in various periods between summer 2014 through to October of that year. We worked fast as we normally do, the method was the same as the other albums and like the other two, the sound has naturally moved itself along. Key Markets is in places quite abstract but it still deals heavily with the disorientation of modern existence. It still touches on character assassination, the delusion of grandeur and the pointlessness of government politics. Its a classic. Fuck em." Housed in a gatefold sleeve designed by Steve Lippert; mastered by Matt Colton at Alchemy. Everything else was done by Sleaford Mods. Sleaford Mods are Jason Williamson: words; Andrew Fearn: music.” - Harbinger Sound.

Gatefold LP version. “Nottingham duo Sleaford Mods present third "proper" album, Key Markets. "Key Markets was a large supermarket bang in the centre of Grantham from the early 1970s up until around 1980," explains Jason Williamson. "My mum would take me there and Id always have a large Coke in a plastic orange cup surrounded by varnished wood trimmings and big lamp shades with flowers on them. Beige bricks with bright yellow points of sale and large black foam letters surrounded you and this is why we called the album Key Markets. Its the continuation of the day to day and how we see it, the un-incredible landscape." "The album was recorded in various periods between summer 2014 through to October of that year. We worked fast as we normally do, the method was the same as the other albums and like the other two, the sound has naturally moved itself along. Key Markets is in places quite abstract but it still deals heavily with the disorientation of modern existence. It still touches on character assassination, the delusion of grandeur and the pointlessness of government politics. Its a classic. Fuck em." Housed in a gatefold sleeve designed by Steve Lippert; mastered by Matt Colton at Alchemy. Everything else was done by Sleaford Mods. Sleaford Mods are Jason Williamson: words; Andrew Fearn: music.” - Harbinger Sound.

“Nottingham duo Sleaford Mods present third "proper" album, Key Markets. "Key Markets was a large supermarket bang in the centre of Grantham from the early 1970s up until around 1980," explains Jason Williamson. "My mum would take me there and Id always have a large Coke in a plastic orange cup surrounded by varnished wood trimmings and big lamp shades with flowers on them. Beige bricks with bright yellow points of sale and large black foam letters surrounded you and this is why we called the album Key Markets. Its the continuation of the day to day and how we see it, the un-incredible landscape." "The album was recorded in various periods between summer 2014 through to October of that year. We worked fast as we normally do, the method was the same as the other albums and like the other two, the sound has naturally moved itself along. Key Markets is in places quite abstract but it still deals heavily with the disorientation of modern existence. It still touches on character assassination, the delusion of grandeur and the pointlessness of government politics. Its a classic. Fuck em." Housed in a gatefold sleeve designed by Steve Lippert; mastered by Matt Colton at Alchemy. Everything else was done by Sleaford Mods. Sleaford Mods are Jason Williamson: words; Andrew Fearn: music.” - Harbinger Sound.

"Sleaford Modss third Berlin show took place at Kreuzbergs legendary SO36 club. The band took to the stage on a hot sweaty June night and played to a sold out audience. The show was captured by a German documentary crew and this limited edition album captures the highlights of that incendiary performance. Among the 14 tracks on the album are favorites like "Tied Up In Nottz", "Jobseeker", "Fizzy" and the great crowd-pleaser and closer, "Tweet Tweet Tweet". The recording is a testament to the connection between the band and those that follow them. Hear the glorious carnage and madness throughout the records duration. No language barriers, no borders, no restrictions of any kind. This album also represents the first release on Harbinger Sounds new USA subsidiary label. Fuck England!” - Harbinger USA.